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PANTOMIMES; 

OR, 

WUax&Xttss Querns, 


ELOCUTION AND CALI8THENIC CLASSES. 


BY 

MARY TUCKER MAGILL, 

t ♦ 

AUTHOR OF “ HISTORY OF VIRGINIA,” “ HOLCOMBES,” ETC. 


BOSTON : 

J. S. Cushing & Co., Printers, 

101 Pearl Street. 

1882 . 


( 0o{‘ n j 

fr J.&.&j.l Vv 
2y O f IVashiN*!^ 





Entered according to Act of Congress, in the year 1882 , by 
MARY TUCKER MAGILL, 
in the Office of the Librarian of Congress, at Washington. 




AUTHOR’S PREFACE. 


fT^HESE exercises have been used by their author with 
great effect, both in classes of Elocution and Calis- 
thenics, but have an especial adaptation to the former. 
They are now given to the public at the request of teachers 
who have seen and heard of them, and feel that they meet 
a want of which every teacher of the art is conscious, — 
being a revelation, in beautiful and simple fashion, of the 
special use of fhe facial and flexor muscles in elocution. 
By clearly defining this use, they tend to curb the tendency 
to exaggeration and affectation, so common in elocution, 
which brings so much discredit on the study, and is abso- 
lute destruction to art, which is only true in proportion to 
its brotherhood to nature. 

The music, by Fuenkenstein, has been composed especially 
for the exercises, and is so arranged as to develop and assist 
the expression. 

I am happy to be able to refer to the following teachers : — 

The Misses Graham, New York Qity. 

Mrs Willsamease, New York City. 

Miss Hammond, New York City. 

Miss M. J Baldwin, Augusta Female Sem., Staunton, Va. 

Mrs. Gen. Stewart, Virginia Female Inst., Staunton , Va. 

Professor John Powell, Richmond, Va. 

The Misses Burgess, Pinkney Institute. Washington, D.C. 

The Misses Kerr, Female Institute, Washington, D.C. 

Miss Sarah Randolph, Patapsco Inst., Ellicott City, Md. 

Miss Mary Pegram, Baltimore, Md. 

Mrs. Wilson Cary, Baltimore, Md. 

Mrs. Mallon, Atlanta, Ga. 

Mrs. Leech and Woods, Norfolk, Va. 

Very respectfully, 

MARY TUCKER MAGILL. 


77 West 55th Street, New York. 


Miss Magill has struck a happy vein in physical culture. 

The real object in body training is a more perfect marriage of the 
soul and body. The difference between the awkward movement and 
stolid faces of many persons of even pronounced intelligence, and the 
graceful movements and speaking countenance of the stage artist, 
illustrates the contrast between mere contiguity and unity. 

The discord between soul and body, as shown in the face, is often 
very striking. The conversation may be bright, while the face is a 
blank. This provoking and painful immobility of the face may be 
removed by a course of special training. Miss Magill has thoroughly 
grasped the difficulty and its removal. The illustrations show how 
comprehensively and finely she touches the emotional gamut. 

I commend this course of facial training. It must be very fasci- 
nating, and will add indefinitely to the pleasure and sparkle of our 
social life. 

Very respectfully, 

DIO LEWIS. 



PANTOMIMIC EXERCISES. 


HERE is nothing so essential to the attractiveness 



-L and beauty of an individual as mobility of expres- 
sion and ease and grace of movement ; however beautiful 
the features, if no light is shed upon them from the soul 
within, the face lacks the charm which attracts ; it is 
like the fair flower without odor, — beautiful to the eye, 
but wanting that which alone could make it charming. 

On the other hand, we can all recall faces, with no 
beauty of feature, which attracted and kept us charmed 
by that play of expression which made it the mirror of 
the soul within, — the changeful emotions flitting over 
it like the face of the heavens in spring : one moment 
bright with the sunshine of mirth, the next dewy with 
the white clouds of sympathy, or bursting into the 
brilliant sunset hues of generous enthusiasm. 

The statuesque repose of the marble has its beauty. 
The work of the sculptor with his chisel upon the resist- 
ing stone is beautiful only in proportion to his faithful 


6 


PANTOMIMIC EXERCISES. 


delineation of nature, and we gaze in silent awe and 
admiration at his highest achievements. But the kind- 
ling eye, the mobile mouth, the graceful movement of 
the pliant form, is the noblest work of a divine hand, 
an achievement worthy of a god. 

In teaching the science of Elocution, I have always 
been met on the threshold by the difficulty of making 
the pupil comprehend the fact that his entire being 
— body, soul, and spirit — must assist in the work. 
The voice, though so often in error, is the most man- 
ageable element ; any attempt at movement of the body 
being stiff and awkward from embarrassment, while the 
face remains still and unresponsive. In striving to 
overcome this difficulty, I was led into a deeper study 
of the whole subject, and was amazed to find the broad 
field opened before me, the wonderful power of the hu- 
man frame for purposes of expression without the aid 
of language; and the result is these simple exercises, 
intended to give ease to those muscles which we use in 
elocution, to open up to the student the idea of their 
importance in every branch of the study, from conver- 
sation, — its foundation-stone, — through reading and 
recitation, up to the highest oratory. 

However much the opinions of the world at large 
may be at variance upon the subject of physiognomy, 


PANTOMIMIC EXERCISES. 


r 


all agree in conceding to it great weight in science. In 
all of the ages of the world, writers have contributed to 
the subject. Beginning with the Bible, we hear Solo- 
mon say : — 

“A naughty person walketh with a froward mouth. He 
winketh with his eyes, he speaketh with his feet, he teacheth 
with his fingers.” 

“ A violent man shutteth his eyes to devise froward things ; 
moving his lips he bringeth evil to pass.” 

“ A high look and a proud heart and the ploughing of the 
wicked is sin.” 

“ There is a generation, O how lofty are their eyes, and their 
eyelids are lifted up.” 

“A merry heart maketh a cheerful countenance.” 

“ Heaviness in the heart of a man maketh it stoop.” 

In the Apocryphal writings, we read : — 

“ The heart of man changeth his countenance, whether it be 
for good or evil.” 

“There is a wicked man that hangeth down his head, and 
oalleth down his countenance, and maketh as though he heareth 
not.” 

“ A man’s attire and excessive laughter and quiet, show what 
he is.” 

One of the worlds greatest students of this subject — 
Oicero — says : — 

“Nature hath bestowed upon man a bodily figure completely 
adapted to his mind. The face of every other animal he hath 
turned downwards to the ground, from whence its nourishment 
is drawn ; to man alone is given a form erect, a face turned up- 
ward to his kindred heaven, to those divine abodes which are 


8 


PANTOMIMIC EXERCISES. 


his native seat. She has, besides, so exquisitely modelled the 
human features that they are capable of expressing the most 
secret emotions of the soul. The penetrating glances of the eye 
indicate the corresponding internal affections ; and that which 
is emphatically called the countenance announces the moral 
character.” 

Herder, a writer on physiognomy, thus analyzes the 
face : — 

“ The forehead is the seat of serenity, of joy, of gloomy dis- 
content, of anguish, stupidity, ignorance, and malignity ; it is 
the table of brass upon which are engraved the thoughts in let- 
ters of fire. 

“ Below the forehead is the eyebrow , that beautiful frontier : in 
its mildness, the rainbow of peace ; in rage, the bended bow of 
discord. 

“ The eyes form the windows of the soul, transparent globes, 
the sources of light and life ; they sparkle in joy, glow in anger, 
gleam softly in sympathy, droop in sorrow. 

“ The nose gives a finish to all the features of the face. The 
root of the nose, its ridge, its point, its cartilage, its nostrils, all 
express understanding and character. 

u The mouth characterizes the taste and propensity; is curled 
to express contempt, compressed in anger, smiling in affection 
and the softer emotions, laughing in joy and triumph, drooped 
in sorrow, thrown violently open in terror. 

“ N ature has placed the ear at the side of the head, half con- 
cealed : with less of beauty and grace than distinguishes the 
other features, with no power in itself of transmitting expres- 
sion ; from which we learn that man hears for himself alone, 
and not to convey to others a sign. 

u The head , supported upon the neck, discovers, by a motion, 
what man wishes to express : firmness, pride, dignity, sorrow, 
or shame.” 


PANTOMIMIC EXERCISES. 


9 


We may add to this beautiful analysis, that the limbs 
in their every muscular action are as full of expression 
as the features of the face. Who so simple as not to be 
able to form some judgment <^f the vital force and char- 
acter of a man, even his age, by his step ? The child 
bounds along the pathway of life, his step yet untouched 
by disappointment and failure ; the untried world before 
him, he believes himself unconquerable. The youth is 
but a modification of the child : a little more of thought, 
of feeling, in his movement ; but although life has, even 
now, had some failures for him, he believes them all 
behind him ; the mountain height above him, he moves 
to conquer its steeps, with buoyant step, his banner, 
“ Excelsior ! ” in his hand. Stern middle age moves 
with sober step, back a little bowed, limbs strengthened 
by toil, the buoyancy and confidence of youth replaced 
by the firmness and determination of character devel- 
oped by experience ; his every movement shows that he 
knows he can be conquered, that success means work, 
and he braces himself for the hand-to-hand conflict. 
Then follows old age, with step feeble and broken, fall- 
ing towards the grave, man’s last resting-place. 

Lavater, the most enthusiastic and voluminous author 
on this subject, has left to literature five folio volumes, 
in which the subject is given, on one side, with the 


10 


PANTOMIMIC EXERCISES. 


greatest interest and power. He claimed the ability to 
tell a man’s character at a glance, and even to divine 
his thoughts, by placing himself in his situation. Al- 
though we must stop short of Lavater in his convictions, 
yet there is so much of wisdom, beauty, and truth in 
his words, that we must adopt them into our text. He 
defined physiognomy as "man’s interior manifested by 
his exterior, whether feature, outline, or position give 
the sign ; it is what a man is in general. Pathognomy 
is the human form in action ; the interpretation of the 
passions shown by the movement of its parts ; what the 
man is at the present moment.” 

Man’s physiognomy forms the difference between 
himself and the brute, — no form so noble, so sublime, 
us his, containing so many faculties, so many powers of 
action ; his eye darts lightning in anger, and melts into 
softness in love ; his foot, by its very stroke upon the 
ground, displays some element of his true character; 
the head rears itself in pride and joy, and bends in 
humility and sorrow. In short, the whole visible man 
is the servant of the invisible mind, which moves and 
controls him at will. Any disobedience to this universal 
law is affectation, — a mask which a man puts on to 
conceal his real self. 

The science of elocution has for its true object the 


PANTOMIMIC EXERCISES. 


11 


analysis of this subject, — the true and beautiful in 
nature. The study has been brought into great dis- 
repute and ridicule by false teaching, — the stilted 
style, — where the feeble grasp strives to arrest the 
whirlwind, or with a feather stop the torrent ; to out- 
bellow the thunder with a baby wail, or out-flash the 
lightning with a brimstone match. 

I aver that there is not so much nonsense and false- 
hood taught on any subject as elocution; the whole 
matter is generally misunderstood. The science has for 
its object and end not so much building up as tearing 
down. From our infancy we are the victims of habit, 
or second nature, which eats into the true nature like 
a canker, undermining and tearing away the beauty 
implanted with our being, and putting in its place the 
wretched substitute which forms the mask we wear to 
conceal what we are. 

Now, elocution should aim to tear away this mask 
by gradual and thorough work, taking us back to the 
beautiful mother Nature, who, in her pure fountain, 
washes us clean from the defilement of habit, and makes 
us simple and tender as nature herself. “ Put yourself 
in his place ” is the best motto for an elocutionist. 

“ The only study of mankind is man ; ” and, such is 
the unity of our nature that, when we find out what 


12 


PANTOMIMIC EXERCISES. 


would be our true feeling in any given situation, and 
display that feeling with perfect naturalness, we touch 
a chord which will make the whole human race vibrate. 

I have often observed that it is the most feeble and 
incapable pupil who is most ambitious to undertake the 
greatest flights. I recall one such, a stage-struck youth, 
who, presenting himself for lessons, said : “ I have a 
passion for high tragedy ! ” I advised him to get rid 
of the dangerous guest, and be content to begin on 
the lowest round of the ladder instead of the highest, 
or he would get a dangerous fall. Like many another 
self-sufficient youth, he did not listen to my friendly 
admonitions, and the fall came in due time. All know- 
the story of the great Cicero and his teacher Roscius, 
the actor; that it was a long discussion with them 
which could best express feeling, voice, or action. 
In these exercises we take the side of Roscius, and 
see what we can do with our subject without the 
aid of the vocal organs. My object in this, as I have 
before hinted, is by excluding this palpable medium, 
and throwing upon the face and body the entire weight 
of expression, to give to the world of students an 
idea of the power of representation which lies in their 
frames, to show them that, however important the 
voice and memory may be, facial expression and move- 


PANTOMIMIC EXERCISES. 


13 


ment must be studied in order to make a perfect whole, 
— the whole being must respond in order to make the 
elocutionary effort a success. 

The subjects chosen for these exercises are of the 
simplest, such as enter into our every-day life. There 
are eight changes : I. Expectation; or, Listening and 
Looking ; II. Affection ; III. Anger or Hatred ; 
IV. Sorrow ; V. Joy ; VI. Fear ; VII. Beligious 
Devotion ; VIII. The Farewell. 

They are so arranged as to bring in strong contrasts. 
Love and hatred follow each other, — “ Sorrow endureth 
for a night, Joy cometh in the morning,” — the anguish 
of “terror” is followed by petition and resignation. 
The object to be gained in these contrasts is to promote 
the mobility of the face, to make the facial muscles 
obey instantly the will of the master, — Mind. The 
music is chosen to suit the sentiment to be expressed : 
Soft and earnest in expectation and affection, stormy in 
hatred and fear, plaintive in sorrow, brilliant in joy, 
and soothing in devotion. 

The exercises were arranged some years ago, to meet 
the wants of a class of my pupils, and have excited so 
much attention by their beauty of sentiment and simple, 
unexaggerated expression, that I have been frequently 
solicited to publish them. It has been a difficult task 


14 


PANTOMIMIC EXERCISES. 


to do so ; and even now there are wants to be met, with 
which a living teacher must cope. Any one who has- 
given thought to the subject will at once catch inspira- 
tion from the thought, in the whole. I present them 
to the public with the hope that they may strike to the 
heart of a vein of pure ore, and serve to develop that 
taste and beauty of which few of God’s creatures are 
entirely destitute. The music is in common time, and 
the movements made to eight beats. The diagram 
below takes in the direction of the movements. The 



pupil occupies the centre mark, a, and steps to points 
marked b, c, d, e, f, g, according to directions. The 
movements should be very decided, the facial expres- 
sion corresponding perfectly. 

Keep this idea prominently in mind. There must 
be a perfect correspondence between the sentiment 
to be expressed, the facial expression, and the move- 
ments of the body. In the softer emotions, where the 
sentiment is tender, as in affection, sorrow, etc., the 
face must be in unison, and the movements gentle 


PANTOMIMIC EXERCISES. 


15 


and relaxed ; in anger and fear the muscles must be 
tense, the face distorted, and the eyes flashing, the 
muscles of the face and body assuming rigidity exactly 
in proportion to the strength of the passion to be 
expressed. 

The best way to ensure a perfectly natural degree of 
expression is for pupils to repeat in their minds the 
words I have chosen to illustrate the sentiment, and 
express it in the, pantomime. 

Study nature, — let it neither be “ overdone, nor come 
too tardy after/’ as Hamlet says. Try effects upon 
yourself ; see how much expression there is in the ten- 
sion of the muscles ; shut your fist, — hold it loosely, it 
expresses nothing, — clench it until it shakes in the 
effort, and it expresses the strongest passion ; and you 
will find, in producing a tension of those muscles, in- 
voluntarily your teeth gnash, and your face expresses 
the strongest anger. There is a most absolute accord 
in nature; habit makes the discord. “God made man 
upright, but he has sought out many inventions.” 


16 


PANTOMIMIC EXERCISES. 


EXPECTATION ; 

or, Listening and Looking. 

I have taken, to illustrate this idea, “Seven Times 
Three,” from Jean Ingelow’s Songs of Seven. A young 
girl is expecting her lover; listening intently, she even 
wants the birds to cease their singing : — 

“ Hush ! nightingale, hush ! oh, sweet nightingale, wait, 

Till I listen and hear 
If a step draweth near, 

For my love he is late. 

“ The skies in the darkness stoop nearer and nearer, — 

A cluster of stars hangs like fruit on the tree, 

The fall of the water comes sweeter, comes clearer ; 

To what art thou listening, and what dost thou see ? 

Let the star clusters glow, 

Let the sweet waters flow, 

And cross quickly to me. 

“ You night-moths that hover where honey brims over 
From sycamore blossoms, or settle or sleep ; 

You glow-worms, shine out, and the pathway discover 
To him who comes darkling along the rough steep. 

Ah, my sailor, make haste, 

For the time runs to waste, 

And my love lieth deep, — 


PANTOMIMIC EXERCISES. 


17 


“ Too deep for swift telling, and yet, my one lover, 

I’ve conned thee an answer, it waits thee to-night ; 

By the sycamore passed he, and through the white clover, 
Then all the sweet speech I had fashioned took flight. 
But I'll love him more, more 
Than e’er wife loved before. 

Be the days dark or bright/’ 


This pantomime is illustrated so fully as to require 
only a brief explanation : — 

First. The raised! finger enjoining silence ; the wide open 
eyes and intent face ; the ear turned toward position d, as 
that whence the expected footstep is to come. 

Second. 'Same expression, hand over ear to concentrate 
the sound. 

Third. “You glow-worms, shine out, and the pathway 
discover to him,” etc. She stands, with hand over eyes, 
gazing earnestly down the pathway. 

Fourth. Her earnestness is rewarded, — she sees him 
coming; who can doubt it? 

* 

There are twelve strains of eight beats in this move- 
ment : — 

Listening. 

First Strain. — 1. Step toward d, holding up index finger 
oehind your head in direction of E. 2. Back to a. 3. Re- 
peat movement. 4. Step back to a. 5. Step to D, hands 
on hips, ear inclined towards point from which sound is 
expected, brow contracted to express earnestness ; hold 
through remainder of strain, 5, 6, 7, 8 beats. (Illust. I. 1.) 

Second Strain. — 1. Without changing position of body 
generally, place right hand over ear, and deepen listening 


18 


PANTOMIMIC EXERCISES. 


expression ; hold through 1, 2, 3, 4, 5, 6, 7 beats ; on 8 re- 
turn to A. (Illust. I. 2.) 

Third and Fourth Strains. — Repeat exercise on left side. 

Looking. 

Fifth Strain. — 1. Step to d, finger raised enjoining silence, 
as in Illust. I. 1. 2. Back to a. 3. Repeat movement. 

4. Back to A. 5. Step to D, looking intently toward the 
direction from whence the person is expected ; hands on 
hips, body bent forward, brow contracted to express eager- 
ness; hold position through strain, 5, 6, 7, 8 beats. 

Sixth Strain. — 1. Without moving position of feet, throw 
the body back, straightening right limb, taking position of 
Illust. I. 3; hold through 1, 2, 3, 4, 5, 6, 7 beats; on 8 
return to A. 

Seventh and Eighth Strains. — Repeat exercise on left side. 

He Comes. 

Ninth Strain. — 1. Step to D, finger raised enjoining 
silence. 2. Back to A. 3. Step to d, and take listening 
position (see Illust. I. 2). 4. Back to a. 5. Step to d, 
taking looking position (see Illust. I. 3) ; hold through 
strain, 5, 6, 7, 8 beats. 

Tenth Strain. — 1. Throw body forward, finger pointed 
in direction of path, face radiant, every feature expressing 
fulfilment of hope (see Illust. I. 4) ; hold through strain, 
1, 2, 3, 4, 5, 6, 7, 8 beats. 

Eleventh and Twelfth Strains. — Repeat exercise on left 
side. 

Tell the whole story by expression and movement as 
plainly as if you recited the poem. 


PANTOMIMIC EXERCISES. 


19 


AFFECTION. 

The poem which illustrates Affection is that exquisite 
one of Miss Mulock's : — 

“ Could you come back to me, Douglas, Douglas, 

In the old likeness that I knew, 

I would be so faithful and loving, Douglas, 

Douglas ! Douglas ! tender and true. 

“ Never a scornful word should pain you, 

I’d smile as sweet as angels do; 

Sweet as your smile on me shone ever, 

Douglas ! Douglas ! tender and true. 

“ Oh ! to call back the days that are not, 

Mine eyes were blinded, your words were few; 

Do you know the truth now up in Heaven, 

Douglas ! Douglas ! tender and true. 

“ I was not half worthy of you, Douglas, 

Not half worthy the like of you ; 

Now all men besides are to me like shadows, 

Douglas ! Douglas ! tender and true. 

“ Stretch out your hand to me, Douglas ! Douglas ! 

Drop forgiveness from Heaven like dew, 

As I lay my heart on your dead heart, Douglas, 
Douglas ! Douglas ! tender and true.” 

I quote it entire, because I wish the whole sentiment 
embodied in the expression and movement of this pan- 
tomime. The longing, regretful love in the raised eyes; 
the outstretched hands, with enough tension of the 


20 


PANTOMIMIC EXERCISES. 


muscles to give order and language to the position. 
The movement must be slow and soft, in unison with 
the music, which expresses the sentiment exquisitely. 

There are eight strains of eight beats in the exercise : — 

First Strain. — 1. Step to B, placing left hand over heart, 
extending right in direction of movement. 2. Back to A, 
placing right hand on left over the heart. 3. Step to c, 
repeating former gesture. 4. Back to A. 5. Step to d, 
both hands outstretched (see Illust. II. 1) ; let the face 
be earnest and the muscles of the body a little tense, not 
rigid ; hold through strain, 5, 6, 7, 8 beats. 

Second Strain. — 1. Without moving the feet, throw the 
body back, straightening right limb and bending left, and 
cross arms over bosom (see Illust. II. 2) ; hold through 
1, 2, 3, 4, 5, 6, 7 beats ; on 8 return to A. 

Third and Fourth Strains. — - Repeat movement on left side. 

Fifth Strain. — 1. Step to b, both hands outstretched 
(see Illust. II. 1). 2. Back to A, hands crossed on bosom 

(see Illust. II. 2). 3. Repeat movement. 4. Back to a. 

5. Step to D, body thrown forward, right knee very much 
bent, hands crossed over bosom ; hold through strain, 
5, 6, 7, 8 beats. 

Sixth Strain. — 1. Without moving position of body 
generally, stretch out both hands, and hold the position 
through 1, 2, 3, 4, 5, 6, 7 beats ; on 8 return to A. 

Seventh and Eighth Strains. — Repeat exercise on left side. 

Take in the full spirit of the poem, and study faith- 
fulness in its illustration. 

ANGER OR HATRED. 

The music here breaks into a stormy measure, to 
illustrate the hateful passion of anger. I have been 


PANTOMIMIC EXERCISES. 


21 


greatly at a loss for a text to express it, as women do 
not, happily, often make such violent demonstration of 
the passion. I have chosen the scene from Shakespeare, 
where the messenger announces to Cleopatra the mar- 
riage of Anthony and Octavia : — 

“ Hence, 

Horrible villain ! or I’ll spurn thine eyes 
Like balls before me ; I’ll unhair thy head.” 

Eyes flashing, lips compressed, face distorted, fists 
clenched ; thus nature marks and disfigures the “ form 
divine.” 

The contrast to the soft, tender, expression of regret- 
ful love which precedes this exercise is a strong one, 
and makes it a good exercise. The time must be de- 
cidedly marked by the stamped foot and shaken fist. 

There are eight strains of music of eight beats in this 
exercise : — 

First Strain. — 1. Stamp the foot and shake the right 
fist once on B line. 2. Back to A. 3. Stamp foot and 
shake the fist once on c line. 4. Back to a. 5. Same 
movement on d line. 6. Back to a. 7. Same movement 
on D line. 8. Back to a. 

Second Strain. — 1 . Take position as indicated by Illust. 
III., and hold 1, 2, 3, 4, 5, 6, 7 beats ; on 8 return to a. 

Third and Fourth Strains. — Repeat exercise on left side. 

Fifth Strain. — 1 and 2. Stamp foot once on b line, and 
shake fist twice. 3. Return to A. 4 and 5. Repeat move- 
ment on c line. 6. Return to a. 7. Stamp foot and shake 
fist once on d line. 8. Return to A. 

Sixth Strain. — 1. Take position as indicated in Illust. 
III., and hold 1, 2, 3, 4, 5, 6, 7 beats; on 8 return to a. 


22 


PANTOMIMIC EXERCISES. 


SORROW. \ 

Here the music breaks into a plaintive wail, as an 
introduction to the next exercise — Sorrow. The poem 
chosen as a key-note to expression is “ Widowhood,” 
from Jean Ingelows Songs of Seven: — 

“ I sleep and rest, my heart makes moan 
Before I am well awake ; 

Let me bleed ; oh, let me alone, 

Since I must not break ! 

“ I shall not die, but live forlorn ; 

How bitter it is to part ; 

O, to meet thee, my love, once more ! 

Oh, my heart ! my heart ! 

“No more to hear, no more to see ! 

O, that an echo might wake 
And waft one note of thy psalm to me, 

Ere my heart-strings break ! 

“ Or once between the gates of gold, 

While an angel entering trod ; 

But once thee sitting to behold 
On the hills of God ! ” 

There are eight strains of music of eight beats in this 
exercise : — 

First Strain. — - 1. Step to b, with bowed head and face 
hidden in hand, whole movement indicating deep dejection; 
hold 1, 2, 3 beats. 4. Return to A, removing hands from 
face ; and interlacing fingers, let the hands fall convul- 


PANTOMIMIC EXERCISES. 


23 


sively, arms at full length. 5. Step to c, and bow the head 
on interlaced fingers ; hold 5, 6, 7 beats ; on 8 return to A. 

Second Strain. — - 1. Step to d, and take position indi- 
cated in Illust. IY. 1 ; hold 1, 2, 3, 4, 5, 6, 7 beats; on 8 
return to A. 

Third and Fourth Strains. — Repeat exercise on left side. 

Fifth Strain. — 1. Step to b, and take position as indi- 
cated in Illust. IV. 1 ; hold 1, 2, 3 beats ; on 4 return to A. 
5. Step to c, and take position indicated in Illust. IY. 2 ; 
hold 5, 6, 7 beats ; on 8 return to A. 

Sixth Strain. — 1. Take position as indicated in Illust. 
IY. 3 ; hold 1, 2, 3, 4, 5, 6, 7 beats ; on 8 return to A. 

Seventh and Eighth Strains. — Repeat exercise on left 
side. 


JOY. 

Joy follows sorrow as light follows darkness. The 
music changes to a light tripping dancing measure, and 
is full of animation and life. The poem is an extract 
from Tennyson’s May Queen : — 

“ To-morrow’ll be the happiest time 
Of all the glad new year ! 

For I ’m to be Queen of the May, mother, 

I ’m to be Queen of the May.” 

The idea is a young girl dancing into her mother’s 
presence to announce her joyful news, that she has been 
chosen by her companions as their May Queen. 

There are eight strains of music of eight beats each 
in this exercise : — 


24 


PANTOMIMIC EXERCISES. 


First Strain. — 1. Step to b and simultaneously clap 
hands over head. 2. Return to A. 3. Repeat exercise at c. 
4. Return to A. 5. Step to d and clap hands over head 
thrice on 5, 6, 7 ; on 8 return to A. 

Second Strain. — 1. Take position of Illust. N. 1; hold 
1, 2, 3, 4, 5, 6, 7 beats, and return to A on 8. 

Third and Fourth Strains. — Repeat exercise on left side. 

Fifth Strain. — 1. Step to b, clap the hands three times 
on 1, 2, 3 beats. 4. Return to A. 5. Repeat movement 
at c, 5, 6, 7 beats. 8. Return to A. 

Sixth Strain. — Take position as indicated in Illust. V. 2 ; 
hold 1, 2, 3, 4, 5, 6, 7 beats. 

Seventh and Eiqhth Strains. — Repeat exercise on left 
side. 

The expression of the face must be beaming through 
this exercise ; it is nothing without expression. 

FEAR. 

This is the most difficult of the exercises, but it is 
worth the effort necessary to accomplish it well. The 
music is in chords, the movement in convulsive starts, 
and wild tragic positions and expressions. 

The poem chosen is an extract from Byron’s well- 
known description of the battle of Waterloo, beginning : 

“ There was a sound of revelry by night, 

And Belgium’s capital had gathered there 
Her beauty and her chivalry ; and bright 
The lamps shone o’er fair' women and brave men ! 

A thousand hearts beat happily ; and when 
Music arose with its voluptuous swell, 

Soft eyes looked love to eyes which spake again, 


PANTOMIMIC EXERCISES. 


25 


And all went merry eCs a marriage bell. 

(VI. 1.) But hush ! hark ! a deep .sound strikes like a rising knell. 

“ Did ye not hear it? No, ’twas but the wind, 

Or the car rattling o’er the stony street. 

On with the dance, let joy be unconfined. 

No sleep till morn, when youth and pleasure meet 
To chase the glowing hours with flying feet. 

(VI. 2.) But hark ! that heavy sound breaks in once more, 

As if the clouds its echo would repeat, 

And nearer, clearer, deadlier than before — 

(VI. 3.) Arm ! arm ! it is the cannon’s opening roar. 

(VI. 4.) The foe, he comes ! he comes ! ” 

Let the pupil picture the scene, and represent it 
according to nature. 

Imagine yourself in the midst of joy and revelry, no 
thought of danger ! In the midst comes the sound ; 
you start convulsively ! It dies away, and you per- 
suade yourself it is nothing. Again it comes, louder 
than before. Another start, more convulsive than the 
last. Then comes the dreaded cannon’s opening roar ; 
the hands are thrown up, and the whole being helps 
to display the terror of the moment ; and as the danger 
comes nearer, and the dreaded foe appears, safety is 
sought in flight. 

The direction of the . movements must be from the 
point of danger. For the first exercise let that point 
be E, the start will naturally be to b. 

The music being divided differently, the directions 
will vary a little — eight strains of eight beats each : — 


26 


PANTOMIMIC EXERCISES. 


First Strain. — 1. A chord of music strikes: start back- 
ward to b, taking the position illustrated in VI. 1 ; hold 
while you count 1, 2 beats, letting muscles gradually re- 
lax, and an expression of relief take the place of startled 
fear ; slowly return to A on 3, 4 beats. 5. There is a crash 
of music, louder than the last, and you start back to b 
more violently than before (see Illust. VI. 2) ; now all is 
hurried, a succession of chords follow in quick succession ; 
5, 6, 7 beats ; on 8 return to A. 

Second Strain. — 1. Start back to B, with hands thrown 
up and the face distorted with terror (see Illust. VI. 3); 
hold 1, 2, 3, 4, 5, 6, 7 beats ; on 8 return to A. 

Third and Fourth Strains. — Repeat exercise on left side 
— start to E from D. 

Fifth Strain. — 1. Start to b, as in Illust. VI. 2 ; hold 
1, 2 beats. 3. Return to A. 4. Start back to B, and take 
position as indicated in Illust. VI. 3 ; hold 4, 5, 6, 7 beats ; 
on 8 return to A. 

Sixth Strain. — -Start forward to d, taking position indi- 
cated in Illust. VI. 4; hold 1, 2, 3, 4, 5, 6, 7 beats; on 8 
return to A. 

Seventh and Eighth Strains. — Repeat exercise on left side. 

This exercise furnishes vigorous practice for all the 
muscles of the body. 


RELIGIOUS DEVOTION. 

Petition and Resignation. — Eight strains of eight 
beats each: — 

First Strain. — 1. Step to B, hands clasped and eyes 
raised upward ; hold 1, 2, 3 ; on 4 return to A. 5. Step to 
c, head bowed, and hands clasped over breast ; hold 5, 6, 7 ; 
on 8 return to A. 


PANTOMIMIC EXERCISES. 


27 


Second Strain. — Step to d, and take position as indi- 
cated in Illust. VII. 1 ; hold 1, 2, 3, 4, 5, 6, 7 ; on 8 return 
to A. 

Third and Fourth Strains. — Repeat exercise on left side. 

Fifth Strain. — 1. Step to b, head bowed, and hands 
crossed over breast ; hold 1, 2, 3 ; on 4 return to A. 5. Step 
to c, hands clasped and eyes raised to heaven ; hold 5, 6, 7 
beats ; on 8 return to A. 

Sixth Strain. — 1. Take position at D, as indicated in 
Illust. VII. 2 ; hold 1, 2, 3, 4, 5, 6, 7 ; on 8 return to D. 

Seventh and Eighth Strains. — Repeat exercise on left 
side. 


THE FAREWELL. 

Eight strains of music, eight beats each : — 

First Strain. — 1. Step to B, take position of Illust. 
VIII. 1 ; kiss the fingers, throw the hand out to full length 
on 2, as if throwing the kiss to some one far away ; repeat 
this movement on 3, 4 beats, and return to A on 4. 5. Step 

to c, wave the hand, palm downward, and moving arm 
from elbow, 5, 6, 7, 8 ; return to A on 8. 

Second Strain. — 1. Step to d and kiss the hand, throw- 
ing kisses four times, 1, 2, 3, 4, 5, 6, 7, 8 ; on 8 return to A. 

Third and Fourth Strains. — Repeat exercise on left side. 

Fifth Strain. — Wave hand at b twice, 1, 2, 3, 4 ; on 4 
return to A. 5. Kiss hand at c twice, 5, 6, 7, 8 ; on 8 return 
to A. 

Sixth Strain. — Take position as indicated in Illust. 
VIII. 2, waving the handkerchief, 1, 2, 3, 4, 5, 6, 7 ; oil 8 
return to A. 

Seventh and Eighth Strains. — Repeat exercise on left 
side. 


I. 1. EXPECTATION ; 
or, Listening and Looking. 


“Hush! nightingale , hush! 
Oh , sweet nightingale, wait 


















I. 2. LISTENING. 


“Till I listen and hear 
If a step draweth near , 

For my love he is late.” 






/ 














I. 3. LOOKING. 


You glow-worms , shine out , and the 'pathway discover 
To him who comes darlding along the rough steep." 



:r 






1.4. HE COMES! 

— ♦ — 

“He comes , my young lover!” 













II. 1. AFFECTION. 


“ Could you come bade to vie , Douglas, Douglas , 
the old likeness that I knew'' 





r 



























II. 2. THE VOW. 


“ I would be so faithful and loving, Douglas , 
Douglas! Douglas! tender and true." 



















* 














III. ANGER. 


“ Hence, 

Horrible villain ! or I'll sjpurn thine eyes 
Like balls before me; I'll unhair thy head I 





ft 





IV. 1. SORROW. 


— ♦ — 

“ Let me alone , let me be, 
Since I must not break.'" 






IV. 2. SORROW. 


— • — 

“ But once thee sitting to behold , 
On the hills of God." 








IV. 3. SORROW. 


— ♦ — 

“Oh, how bitter it is to 'part I 
Oh, my heart! my heart!" 

























V 











V. 1. JOY. 


— ♦ — 

“ To-morrow ll be the happiest time 
Of all the glad new year ! ' ' 













V. 2. JOY. 
— # — 


“ For I m to be Queen of the May !“' 








Hush! hark ! a deep sound strikes like a rising knell." 













VI. 2. FEAR. 


“ Hark ! that heavy sound breaks once again , 
As if the clouds its echo would repeat." 








* 






VI. 3. FEAR. 


“Arm! arm ! it is the cannons opening roar! 


























































* 
























VI. 4. FEAR. 
— ♦ — 


“ The foe , he comes! he comes!" 



VII. 1. RELIGIOUS DEVOTION. 


Petition. 


“ Give us this day our daily bread." 




VII. 2. RELIGIOUS DEVOTION. 


Resignation. 

— ♦ — 

“ Thy will be done." 








VIII. 1. PARTING. 


— « — 

“ Parting is such sweet sorrow 






















VIII. 2. PARTING. 


1 That I could say good-bye until to-morrow 



/ 


















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69 



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ANGER 



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RELIGIOUS DEVOTION 




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FAREWELL 













